And pretty sure that’s not just from the person who’s asking her (well, in order to maintain some semblance of dignity, we’ll assume that).

In fact, she seems entirely confused as to the reason anyone would even be suggesting it.

“Why?” the artist says, over the phone and safe from embrace in her Vancouver home.

Perhaps it’s due to prolonged exposure to Georgas’s gorgeous self-titled confessional which was released late last year. The album, in moments, is like the long lost key to unlocking a two-hour crying jag, so filled with heartbreak and betrayal is it.

From to the wounded yet quietly vindictive Somebody, which features the line, “I just hope that someday somebody’s gonna break your heart and then you’ll finally see yeah you’re gonna feel what I’ve always, what I’ve felt,” to the self-immolating Waiting Game, every moment seems to bleed from a fresh and genuine wound.

But while some might choose to deflect or simply bury the fact that these thoughts and feelings come from a very real place, Georgas, on the other hand owns it as completely as she sells it in song, hoping that through the pain we can all connect.

“Yup, for sure,” says Georgas, who performs this Saturday at the Republik. “A lot of the songs, most of the songs on the record are very personal. But, for this record it was just part of the writing process. I feel good about it. . . .

“That’s definitely my hope, at the end of the day, for people to just be able to take a piece of it and relate to it. That’s one of the big purposes of why I write music.”

Interestingly, though, the manner in which she’s relating her emotions this time out are in an entirely different setting, with an entirely different sound.

For the new album, the artist teamed with producer Graham Walsh from Canadian act Holy F--k to help her set herself in an electro atmosphere — a stark contrast to the more straightforward pop rock approach of her previous release, 2010’s aptly titled This Is Good.

Georgas, though, doesn’t think she sacrificed any of the human elements putting her songs in a more synthetic setting, and the dreamy popscapes that inhabit it certainly bear that out, reminding, at times, of the successful similar transition Alberta artist Rae Spoon made recently.

“I made a conscious effort to have that element and I still wanted it to be really organic, as well,” she says. “To have Graham and his influence and his style come out more on the record for sure was true, but these songs are poppy songs ... they’re songwriting songs. I wanted his influence and my influence to come together and create.”

It helped that she threw herself entirely into the process, by moving to Toronto for three months to record with Marsh and taking herself completely out of her comfort zone.

Clear in the direction she wanted to go, together the pair fleshed out those ideas, working on the perfect soundscapes that would complement rather than cool the material, and taking a direction that would offer something of a challenge.

That, she admits, was a rather large guiding light for her and, it should be noted on her behalf, a rather brave decision to make. Some, instead, might have kept going in the direction of This Is Good, considering the acclaim it brought her both critically and from the Juno folk who awarded it a pair of nominations.

But for Georgas the only path, artistically, is the one that moves her forward.

“I just want to be able to expand my creativity and work with different people and be a better writer and better musician and that’s what (I strive for) in life, is to just get better at my craft and have all kinds of different musical experiences,” she says. “I’m really, really happy with the challenges that I’ve had and the experiences I had making my record.”

Perhaps some of that attitude comes as a result of spending much of the time leading up to recording her self-titled affair touring extensively with fellow Canuck songbird Kathleen Edwards.

That time, which came as Edwards was riding the wave of not only her critically acclaimed release Voyageur — also a wrenching breakup album — but also in the early stages of her high-profile relationship with Bon Iver, gave Georgas an opportunity to ride inside of the eye of the hurricane and soak up all of the lessons (life, artistic, all) that were to be had.

“I was like a little sponge being around her,” she says.

“She made a great record and I was just lucky enough . . . to open the shows for her for four months and then I ended up singing in her band. It was just really cool to come along on her journey and do all of the fun things that she could do,” Georgas says, noting things such as late-night appearances on Letterman and Fallon.

“And, it was before my record came out, so to learn how I wanted to do my thing — she’s such an incredible and strong and talented and smart individual — just learning and enjoying myself, all of it was really, really good for me.

Almost Done!

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